Tian Liming

The Yangtze River is a sincere and simple person, who devoutly receives the bath of nature with sincere brushstrokes. With a clear mind, he savors the simple situation. Through the integration of cultivation, knowledge, form, brushstrokes, and mind, the Yangtze River gradually forms a stable modeling paradigm and a distinct and unique personal painting style. The Yangtze River has created a solemn and freehand style in human body design and sketching art using classical language; Expressing the poetic style of realism in the language of lithography and watercolor painting; In the form of Chinese painting, the brush and ink technique of "searching for all the peaks and making sketches" has entered the style of writing the heart with form and creating the realm with spirit. Although the Yangtze River explores in various painting languages, his artistic style and humanistic realm are fully integrated into a simple context, creating a simple and beautiful style with peaceful and thick shapes and ink language, allowing people to understand the simple connotation of the Yangtze River painting style, which embodies religious sanctity and the most primitive, pure, true, and noble spirit of human nature. The art style of the Yangtze River is a experiential discourse that he embodies through his actions. He saw the pure and beautiful realm of the Chinese people in the cultural space. Simplicity is the true origin of human nature, and the growth of all things is also inseparable from it. Therefore, predecessors have said that the earth is thick and the sky is high, and they have proposed a cognitive way to grasp the origin of things. The painting of the Yangtze River understands the profound mystery of the unity of heaven and man in culture and nature with the tranquility of the mind. The painting language of the Yangtze River is content with the contemplation of the cycle in life, and its shape perceives the ancient meaning of reality and distant things in a changing and unchanging space with a calm mind. Tao Qian once said, "The mountain air is beautiful day and night, and the birds return to each other. There is true meaning in this, and the desire to distinguish has forgotten words." The Wei and Jin people's reverence for the origin of nature is actually a conscious return to simplicity in their hearts. In Tao Gong's poetry, they experienced the true nature of nature. Although it is an ordinary scene, it expresses the awakening of people's hearts, and the form and structure of their language are stored in their hearts, nature, and life. Therefore, reading the paintings of the Yangtze River, the source and flavor of its style lies in it. Yangtze River is a person who yearns for real life. He is based on simplicity, thinking and comprehending the essence of traditional culture, and always maintains the purity of his paintings. This process requires profound and hardworking qualities, and a high level of character relies on the spirit of loyalty, honesty, knowledge, humility, and perseverance. Yangtze River naturally chose this kind of living space with his heart, and his paintings and his people are integrated into the overall natural origin.

In the university, Yangtze River is deeply influenced by the character, academic quality, and painting skills of the older generation. The qualities of being a serious person, solid in learning, and diligent in basic skills have become the origin of Yangtze River's return to simplicity. Yangtze River has consistently grasped the academic spirit of its predecessors in teaching, focused on cultural accumulation, put in effort in traditional cultivation, and put in great effort in the most basic realistic skills. Sketching and sketching step by step have gradually evolved from technical skills, creating a reflection of the object and the mind. This has created a calligraphic freehand structure in Yangtze River's sketching of the human body, with powerful and powerful character shapes, precise and delicate structure, and a clear expression of pen use. The sketching of the human body during the Yangtze River period expanded the space for writing through the concept of inheritance and creativity in practice. Among them, there are the Eight Methods of Eternal Characters. There are many internal spaces in the calligraphy style that also carry the spirit of Chinese traditional sculpture freehand brushwork. To care about the human body habits of the Yangtze River in this way, the writing method and trend give a visual process with shape as the main body. This structural approach is very difficult to introduce into the realistic human body, because the image space is often outside the form, but it must be stored inside the form, which is the difficulty of achieving meaningful form. The so-called meaning in front of the pen refers to the mutual relationship between the external space and the internal space, like the imprint of water and moon. The sketching of the human body in the Yangtze River highlights this way of care, making the human body composition of this period classic and having a broad and profound impact on teaching in art colleges across the country.

On one hand, the Yangtze River maintains the stability and refinement of classroom writing, while on the other hand, it moves towards nature, experiencing the meaning of sketching from the origin of life. Plateau people are a milestone in the Yangtze River period, with unfamiliar and simple faces and strong bodies reflecting a kind of perseverance. These most authentic and kind-hearted plateau people are like the most sacred air and land on the plateau, nourishing the heart and body of the Yangtze River. For over 20 years, the Yangtze River has been traveling alone to the Sichuan Tibet Plateau without hesitation, tracing the truth in the celestial bodies. The piety and admiration of the people on the plateau by the Yangtze River are his heartfelt yearning and continuous absorption of this profound simplicity. Through many experiences, the Yangtze River has found a confidant in the desolate, lonely, and cold world. He understands the emptiness and clarity that nature gives in his heart and visuals. This reveals his natural and honest personality in his honest personality and ordinary yet broad minded visuals, revealing his noble experience of simplicity. Faced with people facing the sky, in the sketching of the Yangtze River, there is a group that embodies a simple soul; In the lithography of the Yangtze River Plateau, there is a pure land far away from floating dust. Standing in front of these plateau people, they can breathe deeply because this is a transparent and spacious space. During this period, the simple painting style and language of the Yangtze River formed a deeper experience of the natural and peaceful modeling language. He used the traditional concept of concavity and convexity, and in the painting style of "one yin and one yang is the way", he portrayed the stability and heaviness of the plateau people, which means either vigorous, auspicious, lush, or handsome. This place is imbued with the true meaning of "white clouds in the sky, bright moon on the ground", and its atmosphere maintains an ordinary person and ordinary heart. It allows us to see the Yangtze River breathing in nature in a way of writing, being on a plateau, with a calm heart, and the simplicity of its image and the experience of its form reflecting the sincerity of its heart. This is the quality of Yangtze River sketching. The language he created symbolizes and confirms the traditional culture's idea of "unity of knowledge and action", while the caring method of the childlike heart makes people feel the simplicity of the Yangtze River heart and his sincere character painting style, becoming a natural unity.

The Yangtze River has discovered its simplicity and authenticity in daily life, and thus his creative spirit is reflected in his exploration of form and experimentation with different painting techniques. The Yangtze River uses watercolor language to shape the nature of people with high peaks, snow capped mountains, and grasslands, which allows people to see the new perspective of the Yangtze River and gain the wisdom of language and the way of language integration in life. The calmness of the Yangtze River is a kind of thick and clear, and its watercolor structure still maintains the essence of sketching. Its solid modeling skills and in-depth image portrayal ability lead to the tranquil space of Western classical painting. If it is the Yangtze River that shapes the tranquility of heaven, earth, and humanity, it is more like the purified world at the bottom of the Yangtze River, a pure land without dust. This kind of modeling language reflects a power of personality. The characteristics of using watercolor in the Yangtze River are presented in the form of accumulated water and color, following the principles of our predecessors while also reflecting the character of our current life. Wherever we write, our strokes are centered and our colors are rich. The feeling of water softens the snow capped mountains on the plateau, and the character's image encompasses the overall harmony. It can be said that the character style of the Yangtze River reflects the vastness of the Qin and Han dynasties, containing the natural thoughts of the people of Wei and Jin. Laozi said, "The world is full of people and things, each returning to its roots." The watercolor characters in the Yangtze River reproduce a cultural orientation based on tranquility through a simple and rustic aesthetic. Although the space in the picture is that of people in nature, its connotation is to face the hustle and bustle with the cleanliness of the plateau. This is "a profound concern for the entire society, and it is a spirit close to religious belief.". The Yangtze River has gone through a process of hands-on experience, experiencing solitude and cold ice, and experiencing the way of life's realm. It has become the spiritual source of the Yangtze River's solitary thinking of the unity of heaven and humanity in heaven and earth.

The Yangtze River reflects on life and the thoughts of the mind and body between heaven and earth, which naturally reminds people of the words of Ji Kang, a person from the Wei and Jin dynasties: "Profound in admiration, the mind is too mysterious to wander." A person who transcends the floating dust has gained the tranquility in heaven and earth, and this profound and unforgettable experience has naturally made the Yangtze River express its inner dedication and love for traditional culture in a written way. The ink and brush images of the Yangtze River are portrayed by robust yaks and warm, pure, and honest Sichuan and Tibetan people, reflecting a strong and broad style of ink and brush. With a solemn and sincere ink ball, it has the imagery of "piercing through white clouds together", making the ink and brush of this plateau "group" consciously conform to natural creation, conveying the personality and emotions of heaven and earth creation in the imagery and form of the ink and brush. The solid foundation of character design in the Yangtze River enables him to use a straight and straightforward style, with countless emotions and words formed by his brushstrokes and ink techniques guided by his mind, to observe towards clarity and enlightenment, deeply immersing himself in the realm of the greater self, and truly expressing the cultural experience of the Yangtze River and all things being the same. For this reason, the portrayal of Sichuan Tibetan boys, girls, Tibetan Han, women, and elderly people by the Yangtze River brush and ink all possess a genuine and virtuous temperament. The space of brush and ink is towards inner tolerance and perfection. In the brush and ink of the Yangtze River, one feels the ultimate goodness and perfection of a person, and responds to the space of kind-hearted people and nature with the emotion and sincerity accumulated by one's heart. The simple image formed by brush and ink here is that the Yangtze River respects the origin of nature. In the original middle of the Yangtze River, it sees the source of things and emotions, and the source of natural living water allows the brush and ink of the Yangtze River to gallop in the plateau space. Its vigorous body carries the ancient sound of honesty and integrity, surging in the clear wind and clouds. This outward and elegant brush and ink quality forms the fresh, simple, and natural and broad-minded brush and ink style of the Yangtze River. His artistic form and pen and ink style are both fresh and natural. The connotation of ink has become a reflection of the true nature of the Yangtze River.

The painting language of the Yangtze River is based on the concept of peace and honesty advocated by traditional humanities. Its human body shape, highland people in Sichuan Tibetan sketching, lithography, and watercolor painting, and the Sichuan Tibetan context in Chinese painting brush and ink, with the pursuit of simplicity and honesty, is the starting point of being a person. In his paintings, images and forms are common, and the mind and body here are unified with all things, that is, the mind and body that do not distinguish between things and me are stored in the structure of the Yangtze River painting. People and heaven and earth are the eternal subjects in the Yangtze River painting, and the characters and nature nurture the simple realm of the characters through the vast and fertile land of the plateau. As the ancients said, "a gentleman carries virtue with thick things." The painting language of the Yangtze River, with its painting theory and techniques, is to understand the natural realm of the integration of heaven and earth, in order to grow simple and honest characters in his paintings.

The painting style of the Yangtze River is a representative of the academic school, and his artistic style has formed a unity of the artistic ideal of simplicity as beauty and the humanistic vision of the times; His artistic language has formed a unity of solid basic skills and sincere heart; His artistic sense has formed a fusion of a plain mind and ordinary nature. The painting art practice of the Yangtze River provides us with the language of art stored in ordinary nature, and enhancing the realm of art requires melting it into a person's precious natural qualities.